e, but lifeless study in
natural history, there should be no hesitation in making choice of the
former method, because animal forms, without some indication of
vitality, are the dullest of all dull ornaments.

It is quite impossible to describe in words the kind of "action" which
is most appropriate to sculpture, it being much more a question of
treatment, and the guiding spirit of the moment, than a subject which
can be formulated. As a broad and general principle which may be taken
for guidance, you will always find yourself on surer ground in the
attempt to indicate the _capacity_ for energy and the suggestion of
_movement_, than you will if your aim is the extremity of action in any
direction. You may, with some justice, point to the illustration given
in Fig. 65, and which appears to contradict this statement, as being an
example in which violent action is the key-note. You must notice,
however, that the two figures, although struggling, are for the moment
still, or may be supposed so. There is enough suggestion of this
pause to excuse the attitudes and save the composition from
restlessness--even the raised hands may be supposed to remain in the
same position for a second or two. This imaginary pause, however
infinitesimal, is essential to the dignity of the sculptor's art, as
nothing is more irritating to the mind than being forced to recognize
the contradiction between a motionless image and its suggestion of
restless action. It is necessary to observe the same rule in the
expression of actual repose, as some clue must be given, some completed
action be suggested, in order to distinguish dormant energy from
downright inertia. I should like to impress upon you the importance of
making a special study of the characteristic movements of animals. You
will in time become so far familiar with them that certain standards of
comparison and contrast will be established in your mind as aids to
memory. Thus you will be all the better able to carve with significance
the measured and stately action of a horse, if you have in your mind's
eye at the same time a picture of the more cumbrous and slower movements
of a cow; and you will be helped in the same way when you are carving a
dog, by remembering that the movements of a cat afford a striking
contrast, in being stealthy where the other is nervous and quick.

For the unfortunate town-bred student or artist, who has had few
opportunities to study birds and beasts familiar to